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Stranger Things season 4 was supposed resume filming this week

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Is Stranger Things season 4 being filmed?

We were hoping to see the cast and crew resume production on Stranger Things season 4 this week, but we haven’t seen or heard any updates from the cast to confirm the restart for filming in Atlanta.

The show has not started filming again yet. The show was about a month into production when Netflix shut down filming because of the spread of COVID-19.

Unfortunately, the little tidbits of news we’ve heard and read about the start of production actually point more in the direction of Stranger Things season 4 not resuming production in the near future.

Stranger Things season 4 was going to start filming this week

It was reported back in July that the cast and crew were eyeing a restart date of Sept. 17, 2020, which happens to be this Thursday.

In a recent interview, Maya Hawke, who stars as Robin Buckley, said that the restart date was looking promising but seemed to imply that was not the case anymore.

In an interview with The Hollywood Reporter, Caleb McLaughlin said that he wasn’t sure when production was going to start and that it could be “next year” before they start filming again.

Well, that’s not good news.

Along with that, David Harbour, who stars as Jim Hopper, and Lily Allen were married in Las Vegas, Nevada recently.

If production was starting soon, you’d imagine Harbour would be in Atlanta quarantining before the start of production like the Riverdale cast had to do. It’s possible, though, that was just a Canadian restriction since that’s where Riverdale is filmed. Stranger Things films in Atlanta, and maybe they will not be doing a two-week quarantine before the start of production.

It isn’t all bad news, though. Red Notice, a new Netflix movie starring Ryan Reynolds, Gal Gadot, and Dwayne Johnson, resumed production recently in Atlanta. That seems to indicate that there is a way to start production again in Georgia.

Ozark, another popular Netflix show, is planning to start filming in Georgia later this year, as well. That could be another good sign that production on season 4 will be starting soon.

There are so many factors to consider, including cast and crew size, when making the decisions to start production again and how to keep all those people healthy and safe.

We’ll let you know when Stranger Things season 4 resumes production. Hopefully, we learn more in the near future. The sooner the season starts filming, the sooner we’ll see the season on Netflix.

Next: Stranger Things season 4 release date, cast and more

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Sephora Sale: Save Up to 50% Off Your Favorite Beauty Products

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Sephora Sale: Save Up to 50% Off Your Favorite Beauty Products | Entertainment Tonight


































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Netflix Spent a Lot of Money at the Toronto International Film Festival

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Halle Berry’s new movie, a Shia LaBeouf–Vanessa Kirby drama, and the Zendaya-starring Malcolm & Marie are all headed to the streaming platform.
Photo: Netflix

Heading into this year’s dramatically downsized (and partially virtual) edition of the Toronto International Film Festival, expectations surrounding the kind of grabby movie sales that have come to define this high-glitz North American showcase for independent cinema were decidedly humble. In 2019, after all, only a single major deal was struck during fest proceedings: HBO’s $20 million acquisition of the Hugh Jackman–Allison Janney bio-drama Bad Education.

So in a pandemic year that has spun the movie world off its orbit — canceling other top-tier festivals including SXSW, the Cannes Film Festival, and the Telluride Film Festival; attenuating the number of features screening in Toronto from 333 last year to a mere 50; and moving the brunt of those titles to password-protected online showings absent the gala hoopla that has triggered past TIFF deal-making frenzies — conventional wisdom held against Toronto maintaining its reputation as a hot acquisitions marketplace.

As the curtain fell on the festival’s 44th edition on Sunday, Toronto managed to banish doubt it could still serve its more prescribed purpose as an awards-season launching pad, stoking buzz in particular for Frances McDormand’s understated performance in the Fox Searchlight Pictures road drama Nomadland (which won the Academy Awards–predictive People’s Choice Award); Regina King’s directorial debut, One Night in Miami; and Vanessa Kirby’s anguished turn in the domestic drama Pieces of a Woman. However, a handful of significant deals for many of this year’s highest-wattage projects also proved that Toronto can still persuade Hollywood to open its wallet in pursuit of prestige product — in the case of Netflix, which bought more movies and paid substantially more than any other media entity, perhaps even wider at a time when audiences have yet to show a willingness to return to the multiplex en masse.

On September 11, the streaming behemoth struck TIFF 2020’s first major deal, acquiring Halle Berry’s directorial debut, Bruised, for a “high teens” eight-figure sum ahead of its festival premiere. Shown as a work in progress, the sports drama features Best Actress Oscar winner Berry as a disgraced mixed-martial-arts brawler seeking a shot at redemption both professionally and with the son she gave up for adoption.

Netflix followed up that purchase the following day by snapping up worldwide distribution rights to Pieces of a Woman, the English-language debut of Hungarian director Kornél Mundruczó (White God), for an undisclosed price. Starring alongside a Winnie-the-Pooh-ing Shia LaBeouf, British actress Kirby (The Crown, Fast & Furious Presents: Hobbs & Shaw) stars as a young mother facing paroxysms of anguish after her natural home childbirth goes tragically wrong. Kirby was critically hailed for her breakout performance — the first lead of her career — having picked up the Volpi Cup Award for Best Actress at the Venice International Film Festival earlier this month, where the Martin Scorsese–produced Pieces premiered ahead of Toronto.

Halle Berry in Bruised.
Photo: TIFF

Outside of films that screened as official festival selections, a number of hot titles were either auctioned or announced on TIFF’s virtual market. Among them: STX presold international distribution rights to Five Eyes, a spy thriller that will reteam director Guy Ritchie with his Lock, Stock and Two Smoking Barrels co-star Jason Statham, to German distributor Leonine for “high seven figures.” Producers behind the heist thriller One Way, starring Colson “Machine Gun Kelly” Baker and Travis Fimmel (Vikings), used the hothouse festival platform to broadcast an intent to begin filming in January 2021. And the biggest deal came courtesy of the eye-watering $30 million Netflix paid for worldwide rights to Malcolm & Marie — a black-and-white 35-mm. romantic drama shot during quarantine lockdown this year that stars Zendaya and John David Washington — for which the subscription platform bested competing bids from A24, HBO, Searchlight Pictures, MGM, Apple, Focus Features, and Amazon.

On September 15, IFC Films picked up North American distribution rights to the Sam Pollard–directed documentary MLK/FBI. Showcasing a trove of declassified files, newly restored footage, and documents the filmmakers secured through tireless Freedom of Information Act requests, the doc examines the FBI’s surveillance and harassment of Dr. Martin Luther King Jr. in the ’50s and ’60s as a window into the government’s broader history of targeting Black activists. IFC reportedly plans to release MLK/FBI on January 15, 2021, in time for the Martin Luther King Jr. holiday weekend but also as an Oscar-season contender.

Two days later, in what Deadline characterized as a sale that “might hold the distinction of being the first drive-in movie acquisition ever,” Vertical Entertainment and Redbox Entertainment paid $5 million for North American distribution rights to Shadow in the Cloud, the critically divisive Midnight Madness selection co-written and directed by New Zealand filmmaker Roseanne Liang (also co-credited is the disgraced Hollywood screenwriter Max Landis). The film stars Chloë Grace Moretz as a World War II flying ace who joins the unsuspecting crew of a B-17 Flying Fortress carrying a mysterious, top-secret briefcase; enduring the airmen’s sexist jeers and repelling sneak attacks by Japanese Zeroes over the Pacific, she must also confront an evil presence that is ripping the plane apart from the inside.

While Shadow stands as a splashy festival score, it’s also managed to polarize critics like few films in recent memory. According to the Hollywood Reporter, “any pulp-loving genre fan who can accept completely absurd action in the name of a good time should probably just stop reading now and add Shadow to the must-see list.” IndieWire, meanwhile, commended the originality of the movie’s “feminist-leaning freshness” and “energy that never relents (even in the face of things like ‘logic’ and ‘physics’ and ‘common sense’).” But Slashfilm took issue with Shadow’s over-the-top plotting — “what’s on display here is so abrasive and so bombastic that it begins to sap the life out of you” — and Lainey Gossip lamented its general lack of coherence: “If you want to see a bonkers movie that completely flies off the rails halfway through, then this is the movie for you.”

On Saturday, in the last major deal of TIFF 2020, the upstart indie Solstice Studios (behind the recent Russell Crowe road-rage thriller Unhinged) dropped $20 million on worldwide distribution rights for Good Joe Bell. The road drama, written by the Oscar-winning Brokeback Mountain screenwriting team of Diana Ossana and Larry McMurtry, stars Mark Wahlberg as a salt-of-the-earth, blue-collar dad struggling to accept and support his teen son, who is unmercifully bullied by his high-school classmates for being gay. Wahlberg’s character’s shame and fury at his inability to reconcile the situation firm into resolve: He endeavors to walk from Oregon to New York on a campaign to raise awareness about the noxious effects of bullying.

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Max Ehrich Says He ‘Forgives’ Demi Lovato After Finding Out About Split Online: ‘Let Us Heal’

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Moving forward. Max Ehrich said he “forgives” ex-fiancée Demi Lovato after doubling down on his claim that he found out about their split online.

The former Young and the Restless star, 29, took to Instagram on Sunday, September 27, to share more details about how he learned about his breakup from the pop star, 28.

Instagram

“I was on the set of my new movie, Southern Gospel, with crew and cast members right next to me who literally watched me open my phone where I then opened a tabloid. This is God’s honest truth of how I found out about the ending of the engagement and have people from my film who saw the whole thing go down and helped me get back into character to continue my job. I had cast and crew with families relying on me to do my job,” Max wrote via Instagram Story.

The American Princess star continued, “That being said, please end this narrative and focus on other more important issues in the world. I love and forgive everyone involved. Let us be. Let us heal. God bless.”

max ehrich demi lovato statement
Instagram

After his statement, Max shared a screenshot of an iMessage exchange. The last message in the conversation read: “To find out over the internet was beyond anything I could’ve ever imagined a person could do to another human.” He captioned the screenshot, “Leave me alone.” Because the message was highlighted in blue, it seems Max was the one who wrote the message, but it’s unclear who he sent it to.

The 100 Things to Do Before High School alum concluded his message by defending himself from trolls who accused him of speaking out about his breakup from the “Sorry Not Sorry” singer for attention.

max ehrich demi lovato statement
Instagram

“I entered the acting industry when I was 15 because I’ve been in theater since the age of 4 with a huge relentless passion for the craft of acting and music. Hence why I have had the honor of receiving four nominations from the Emmy Academy and on a Spielberg series. I finally am starring in a film that has great morals,” he wrote. “I am not interested in attention; I’m interested in doing my art. Please leave me be and let me focus on my film!!!! [male facepalm emoji.]”

Max and Demi started dating in March and they self-quarantined together amid the coronavirus pandemic. They went public with their relationship in May and got engaged in July. But on September 24, In Touch confirmed Demi and Max had called it quits after six months together.

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